Top 1200 Historical Value Quotes & Sayings

Just as the value of a house lies in its location, The value of a mind lies in its depth, The value of giving lies in the presence of a generous spirit, The value of words lies in their reliability.

Density, complexity, and historical-semantic value that is so strong as to make politics possible... Gramsci's insight is to have recognised that subordination, fracturing, diffusion, reproducing, as much as producing, creating, forcing, guiding, are necessary aspects of elaboration.

It was clear to me that the forms of consciousness of our inherited and acquired historical education - aesthetic consciousness and historical consciousness - presented alienated forms of our true historical being.

Of God's love we can say two things: it is poured out universally for everyone from the Pope to the loneliest wino on the planet; and secondly, God's love doesn't seek value, it creates value. It is not because we have value that we are loved, but because we are loved that we have value. Our value is a gift, not an achievement.

The classical error of historical Christianity is that we have never started with the value of the person. Rather, we have started from the 'unworthiness of the sinner', and that starting point has set the stage for the glorification of human shame in Christian theology.

I love Delhi for its historical value and the variety of food it offers.

I am a Prince," he replied, being rather dense. "It is the function of a Prince—value A—to kill monsters—value B—for the purpose of establishing order—value C—and maintaining a steady supply of maidens—value D. If one inserts the derivative of value A (Prince) into the equation y equals BC plus CD squared, and sets it equal to zero, giving the apex of the parabola, namely, the point of intersection between A (Prince) and B (Monster), one determines value E—a stable kingdom. It is all very complicated, and if you have a chart handy I can graph it for you.

Market value is irrelevant to intrinsic value. ... Unqualified judgment can at most claim to decide the market-value - a value that can be in inverse proportion to the intrinsic value.

As much as I love historical fiction, my problem with historical fiction is that you always know what's going to happen.

Don't get stampeded by what people around you value. The task is to figure out what YOU value - and value highly enough to throw yourself into with unqualified passion.

It's not enough to create value, you have to interpret the value for your prospects and customers so that they can feel the value emotionally and empirically.

The mere notion of photography, when we introduce it into our meditation on the genesis of historical knowledge and its true value, suggests the simple question: Could such and such a fact, as it is narrated here, have been photographed?

For me archaeology is not a source of illustrations for written texts, but an independent source of historical information, with no less value and importance, sometimes more importance, that the written sources.

....the popular music of Jamaica, the music of the people, is an essentially experiential music, not merely in the sense that the people experience the music, but also in the sense that the music is true to the historical experience, that the music reflects the historical experience. It is the spiritual expression of the historical experience of the Afro-Jamaican.

The idea of the paranoid style as a force in politics would have little contemporary relevance or historical value if it were applied only to men with profoundly disturbed minds. It is the use of paranoid modes of expression by more or less normal people that makes the phenomenon significant.

Now, whenever you read any historical document, you always evaluate it in light of the historical context.

It is inconceivable to me that an ethical relation to land can exist without love, respect, and admiration for land, and a high regard for its value. By value, I of course mean something far broader than mere economic value; I mean value in the philosophical sense.

What distinguishes the historical social system we are calling historical capitalism is that in this historical system capital came to be used (invested) in a very special way. It came to be used with the primary objective or intent of self-expansion. In this system, past accumulations were 'capital' only to the extend they were used to accumulate more of the same.

With the historical fictions, I was already doing so much research, and so much of the stories was anchored by historical truth that the move to nonfiction didn't feel all that dramatic - just another half-step to the right.

I'm a big fan of historical fiction stuff. Historical battles - 'Gladiators,' 'The Patriot.'

Historical! Must it be historical to catch your attention? Even though historicity, like notoriety, denotes nothing more than thatsomething has occurred.

To love something as an artist ... means to be shaken not by its ultimate value or lack of value, but by a side of it that suddenly opens up. Where art has value it shows things that few have seen. It's conquering, not pacifying.

In 'Labor Day Hurricane, 1935,' Douglas Trevor vividly recreates a historical event. While that is the only story in A THIN TEAR IN THE FABRIC OF SPACE in the historical past, many of the other stories juxtapose fact-both historical and scientific-with narration to an engaging effect, one that distinguishes the voice of this new writer.

We only store in memory images of value. To write about one's life is to live it twice, and the second time is both spiritual and historical.

History teaches that when valuations are extreme, "mean reversion," a move towards historical norms, is likely. Once value stocks turn, the recovery can be fast and intense.

In the same way that I've no desire to live in earlier historical periods, I never touch historical recipes. Most historical cooking is detestable.

You can't believe anything that's written in an historical novel, and yet the author's job is always to create a believable world that readers can enter. It's especially so, I think, for writers of historical fiction.

It is of course the nature of historical contraction that the shortest distance to a historical destination is never a straight line.

I suppose, at 50, you value things in a different way. So you value connections, you value your friendships, you value your health, and you are much more aware of time passing.

If you're writing something that's clearly labelled as an alternative history, of course it's perfectly legitimate to play with known historical characters and events, but less so when you're writing an essentially straight historical fiction.

As much as I care about historical context - I'm very eager to read a really great historical account.

Since history has no properly scientific value, its only purpose is educative. And if historians neglect to educate the public, if they fail to interest it intelligently in the past, then all their historical learning is valueless except in so far as it educates themselves.

Nothing has value in itself. The consumer confers value on it by seeking to acquire it. Hence, the value of a thing is never objective, but always subjective.

Fiction has consisted either of placing imaginary characters in a true story, which is the Iliad, or of presenting the story of an individual as having a general historical value, which is the Odyssey.

I write novels, mostly historical ones, and I try hard to keep them accurate as to historical facts, milieu and flavor.

Historical fiction is actually good preparation for reading SF. Both the historical novelist and the science fiction writer are writing about worlds unlike our own.

In my work, there's mechanism that is "real," which is formed from the historical concepts of the images that I'm working with. That doesn't fall completely into a cliché. There are elements about it that carry historical context and edges.

People value honesty. They value integrity. They value competence and courage and all those kinds of things.

Nothing of great value in this life comes easily. The things of highest value sometimes come hard. The gold that has the greatest value lies deepest in the earth, as do the diamonds.

If you're playing the a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.

The story in that particular spot was an ancient history story, and we wanted to give it a historical feeling, which was why we used a historical calligraphy scroll come to life.

Writing historical novels can be dangerous. We need to be as accurate and as fair about the historical record as we can be, at the same time as creating our fictional characters and, hopefully, telling a good story. The challenge is weaving the fiction into the history.

It is not good for all our wishes to be filled; through sickness we recognize the value of health; through evil, the value of good; through hunger, the value of food; through exertion, the value of rest.

My first book was a historical novel. I started writing in 1974. In those days, historical novels meant ladies with swelling bosoms on the cover. Basically, it meant historical romance. It was not respectable as a genre.

I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.

I don't value authority. I don't value the systems. I don't value patriarchal religion. I don't value the things that diminish you when you do tell the truth. So I'm not scared of the end result, and that is the biggest asset I have.

If you make a determination that [story of Abraham and the sacrifice of Isaac] is not historical, do you throw it away? I don't think we can say whether it's precisely, scientifically historical.

Though my books are written from a historical perspective, I have goon so far back that I am in the realm of prehistorical speculation rather than simple historical fact to weave my stories around.

Take control of who you report to, what you do, what you create. Or start a business on the side. Deliver some value, any value, to anybody, to somebody, and watch that value compound into a career.

My books fall in the wobbly middle between historical fiction and historical romance.

Blockchain assets derive value from their usefulness. Bitcoin has value because people value the payment network. BTC is required to use the network, so people demand it. If Bitcoin continues to be useful, it will continue to have value.

If you're playing a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.

We have gotten away from this double aspect of either putting the character back into historical events or of making a historical event of his very life.

Historical fiction is not history. You're blending real events and actual historical personages with characters of your own creation.

Even if people tell me they have historical proof [that it is not historical], that doesn't really bother me.

I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.

It is easy to see, though it scarcely needs to be pointed out, since it is involved in the fact that Reason is set aside, that faith is not a form of knowledge; for all knowledge is either a knowledge of the eternal, excluding the temporal and historical as indifferent, or it is pure historical knowledge. No knowledge can have for its object the absurdity that the eternal is the historical.

When writing about historical characters I try to be as accurate as possible, and in particular not to misrepresent the view they held. With a real historical figure you have to be fair, and this is not an obligation you have in dealing with your own creations, so it is quite different.

I'm not really frightened by experimenting - that's the main thing. I really like mixing very old beautiful pieces that are from thrift shops or that have some historical value with quite new futuristic things.

History is valuable, to begin with, because it is true; and this, though not the whole of its value, is the foundation and condition of all the rest. That all knowledge, as such, is in some degree good, would appear to be at least probable; and the knowledge of every historical fact possesses this element of goodness, even if it posses no other.